By Tomaso Giovanni Albinoni (1671-1751). Arranged by Sean F. Biehn. For Trombone...(+)
By Tomaso Giovanni
Albinoni (1671-1751).
Arranged by Sean F.
Biehn. For Trombone and
String Quartet. Baroque.
Advanced. Score and
parts. Published by
Cherry Classics
Further Adventures for the Intermediate Drummer. Performed by Metallica. Instruc...(+)
Further Adventures for
the Intermediate Drummer.
Performed by Metallica.
Instructional. Softcover
with CD. Size 9x12
inches. 72 pages.
Published by CHERRY LANE
MUSIC.
(Cantata for a penitential service). By Johann Sebastian Bach (1685-1750). Edite...(+)
(Cantata for a
penitential service). By
Johann Sebastian Bach
(1685-1750). Edited by
Ulrich Leisinger. For
SATB vocal soli, SATB
choir, oboe, bassoon,
violin, 2 violas, basso
continuo. This edition:
Paperbound. A-Moll (A
minor). Stuttgart Urtext
Edition. . full score.
Cantatas; Special days.
A Step-by-Step Breakdown of Metallica's Guitar Styles and Techniques. Performed ...(+)
A Step-by-Step Breakdown
of Metallica's Guitar
Styles and Techniques.
Performed by Metallica.
By Doug Boduch. Video.
DVD (Digital Video Disc).
Size 5.3x7.5 inches.
Published by Cherry Lane
Music.
Piano, Voix et Guitare [Partition] - Intermédiaire Cherry Lane
Performed by Metallica. For voice, piano and guitar chords. Format: piano/vocal/...(+)
Performed by Metallica.
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Metal and
hard rock. 88 pages. 9x12
inches. Published by
Cherry Lane Music.
Orchestra (Study Score) SKU: HL.49046988 Lyric Trilogy After Maurice M...(+)
Orchestra (Study Score)
SKU: HL.49046988
Lyric Trilogy After
Maurice Maeterlinck Study
Score, French.
Composed by Aribert
Reimann. Edition Schott.
Classical. Softcover. 280
pages. Duration 5400
seconds. Schott Music
#ED23491. Published by
Schott Music
(HL.49046988).
ISBN
9781705174333. UPC:
842819115281.
8.25x11.75x0.695
inches.
SYNOPSIS
Aribert Reimann's
'Trilogie lyrique' is
based on three plays by
Maurice Maeterlinck: In
L'Intruse, a family is
sitting at the table with
their blind grandfather.
They are waiting for the
doctor to arrive and tend
to his daughter who is
lying ill in bed after
having given birth: her
new-born son has not yet
made a single sound. The
old man senses that
something is wrong due to
the uneasy atmosphere in
the room. Who is sitting
in our midst? he asks. He
is the only one who
cansee the presence of
death. Interieur: Once
again a family is
gathered round the table
in the evening, but this
time we observe the
action from outside,
looking through the
window with the
grandfather and a
stranger: no sound can be
heard. Outside the house,
the stranger reports that
the eldest daughter has
drowned and that he has
pulled her out of the
river. Although the
corpse is already being
carried through the
village to the family,
the grandfather cannot
bring himself to destroy
this idyll. La Mort de
Tintagiles: The young
Tintagiles is told a
story about a mysterious
castle and the aged queen
who has all potential
heirsto the throne
murdered. His siblings
sense that Tintagiles has
been summoned to the
castle to be murdered,
but nobody openly
expresses this fact. It
is the sinister
messengers of death from
the interludes, now
visible as the queens
servants, who ful?l her
demand and snatch the
sleeping boy from his
sisters'arms. Commentary
'In comparison with his
Medea for example with
its stormy outbreaks of
emotion and violence,
Reimann's score is worked
in an impressive
refinement of sound. It
begins with rumbling,
hesitating and expressive
music in the first
section, demanding highly
ingenious sound effects
from the lower strings
including tapping and
faltering glissandos in
its noisy expression of
mortal fear. Inthe second
part, the woodwind
formation plays at times
almost in chamber music
fashion and is then
suddenly painfully
shrill. The third part
luxuriates and rages in
its rich, full
orchestration. The manner
in which Reimann displays
his mastery in textural
shading, the invention of
sounds welling up and
fading away, the rhythmic
and melodic capacity of
suffering and the music's
inner violence are all
utterly
compelling.'(Wolfgang
Schreiber, Opernwelt,
November 2017).
By Felix Bartholdy Mendelssohn. Teaching Singer: Don Wilkinson. For Bass voice. ...(+)
By Felix Bartholdy
Mendelssohn. Teaching
Singer: Don Wilkinson.
For Bass voice. Choral
learning aid. SingleParts
with StudySpots.
Classical; Choral. Level:
Novice to semi
professional. 2 Choral
Practice CDs. Duration
2:28:11. Published by
Rehearsal Arts, LLC.
Band concert band - Grade 3 SKU: KJ.WB188 Composed by Quincy C. Hilliard....(+)
Band concert band - Grade
3
SKU: KJ.WB188
Composed by Quincy C.
Hilliard. Bandworks.
Score and set of parts.
Neil A. Kjos Music
Company #WB188. Published
by Neil A. Kjos Music
Company (KJ.WB188).
This
Multi-Movement
Programmatic Work Is
Based Upon the Legend of
Acapulco. The Five
Movements Are Entitled
the Warrior. Grade 3.
Choir SKU: CA.2708305 Composed by Carl Friedrich Christian Fasch. Edited ...(+)
Choir
SKU:
CA.2708305
Composed
by Carl Friedrich
Christian Fasch. Edited
by Ryan Kelly. Chorus 1
and 4. Sacred vocal
music, Masses, Latin.
Choral Score. FWV.
Duration 23 minutes.
Carus Verlag #CV
27.083/05. Published by
Carus Verlag
(CA.2708305).
ISBN
9790007164171. Language:
Latin.
Carl
Friedrich Christian
Fasch's Mass in 16 parts
is remarkable for more
than its unusual scoring.
Inspired by the Italian
church music style of
Orazio Benevoli, it was
composed in 1783 for the
Berliner Sing-Akademie,
and revised by Fasch
several times throughout
his life in order to
adapt the score to the
vocal capabilities of his
ensemble. The composer
destroyed all earlier
compositions, which
probably contributed to
the legendary fame which
this mass has enjoyed
since the 19th century.
The mass was, however,
only published in 1839 -
around four decades after
Fasch's death. The
present edition is based
on the version contained
in the first printed
edition. In addition to
modern music notation,
extensive performance
materials (two choral
scores, separate organ
part) facilitate the
rehearsal of this
challenging work. Score
available separately -
see item CA.2708300.
An Inside Look at the Bass Styles of Metallica. Performed by Metallica. By James...(+)
An Inside Look at the
Bass Styles of Metallica.
Performed by Metallica.
By James A. Rota. Hal
Leonard Guitar Method.
Book and CD package. With
notes and tablature. Size
9x12 inches. 64 pages
Viola (2.2.cor ang.2.B-clar.2 - 4.2.2flhn.3.1 - timp - hp - str) SKU: BR.OB-5...(+)
Viola (2.2.cor
ang.2.B-clar.2 -
4.2.2flhn.3.1 - timp - hp
- str)
SKU:
BR.OB-5328-19
Urtext. Composed
by Cesar Auguste Franck.
Edited by Peter Jost.
Stapled.
Orchester-Bibliothek
(Orchestral Library). A
major work of the
late-romantic repertoire,
Cesar Franck's only
symphony joins the ranks
of Breitkopf & Hartel's
new orchestral editions
which follow the
principles of Source
Criticism for Practical
Use. Symphony; Romantic.
Part. 16 pages. Duration
37'. Breitkopf and
Haertel #OB 5328-19.
Published by Breitkopf
and Haertel
(BR.OB-5328-19).
ISBN
9790004333846. 10 x 12.5
inches.
Cesar
Franck wrote his Symphony
in D minor in 1887/88; in
spite of the work's
lukewarm reception at its
world premiere on 17
February 1889, the work
was published during his
lifetime. It was not
until a few years later
that the established
conductors dared perform
this work more frequently
. It marked the
inevitable triumph of a
work which had once
caused such a furor and
whose individuality of
conception burst the
framework of the genre
(double tonality of D and
F minor in the opening
movement; the combination
of Andante and Scherzo in
the central one; the
recapitulation of the
main themes and motifs of
the previous movements in
the finale). The work was
finally accepted into the
concert repertoire for
good around the turn of
the century, not least
through the good offices
of influential critics
and composers.Just as
with the previously
published Carnival of the
Animals (PB/OB 5321) by
Saint-Saens, Franck's
work also raises many
questions concerning its
origin and history. Peter
Jost based his work on
the first edition (the
autograph was destroyed
in a fire in 1935) as
well as on the piano
reduction (four-handed)
by the composer.
A
major work of the
late-romantic repertoire,
Cesar Franck's only
symphony joins the ranks
of Breitkopf & Hartel's
new orchestral editions
which follow the
principles of Source
Criticism for Practical
Use.
ATB vocal soli, SATB choir SKU: CA.3113605 Cantata for the 8th Sunday ...(+)
ATB vocal soli, SATB
choir
SKU:
CA.3113605
Cantata
for the 8th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Christiane
Hausmann. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music,
Cantatas, Trinity. Choral
Score. Composed 1723. BWV
136. 8 pages. Duration 22
minutes. Carus Verlag #CV
31.136/05. Published by
Carus Verlag
(CA.3113605).
ISBN
9790007171612. Language:
German/English.
Translation: Henry
Drinker. Scripture:
Matthew
7:15-23.
The
cantata Erforsche mich
Gott und erfahre mein
Herz BWV 136 was composed
in Bach's first year as
Kantor of St. Thomas's in
Leipzig and was first
performed on the 8th
Sunday after Trinity, the
18th July 1723. The
librettist is unknown.
The title of the cantata
is taken from verse 23 of
Psalm 139: Erforsche mich
Gott und erfahre mein
Herz; prufe mich und
erfahre, wie ich's meine.
(Search me, O God, and
know my heart: try me,
and know my thoughts) The
opening chorus forms an
extended fugue, framed by
string writing bursting
with energy. The
obbligato horn
accentuates and enriches
the movement with a
special tonal color. The
alto aria in F sharp
minor (movement 3)
comprises a trio movement
with an oboe d'amore as
solo instrument in a
contrasting range - a
presto middle section
which dramatically
charges the words Denn
seines Eifers Grimm
vernichtet (For the fury
of its zeal will
destroy). In the duet
(movement 5) the text is
sung by tenor and bass
line by line, sometimes
imitating contrapuntally,
and sometimes both
singing together
dramatically in
homophonic writing. A
simple chorale setting to
the melody Auf meinen
lieben Gott concludes the
cantata. Particularly
charming here is the
violin which joins the
four vocal parts as an
independent part. Score
available separately -
see item CA.3113600.
Filadelfia Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1186064-140 Composed by Jacob...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1186064-140
Composed by Jacob De
Haan. Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2018. 19 pages.
De Haske Publications
#DHP 1186064-140.
Published by De Haske
Publications
(BT.DHP-1186064-140).
English-German-French-
Dutch.
Filadelfia
is a small town in the
province of Vibo Valentia
in the southern Italian
region of Calabria. In
1783 the town suffered a
devastating earthquake.
This work depicts the
events before and after
the disaster, and starts
peacefully, with
dance-like music sounding
in the streets. After
this the earthquake
destroys everything,
causing deep despair. In
the end, the town is
being rebuilt, which
calls for a festive
celebration!
Filadelfia is een
klein stadje in de
provincie Vibo Valentia
in de Zuid-Italiaanse
regio Calabrië. In
1783 vond hier een
verwoestende aardbeving
plaats. Dit werk
beschrijft de situatie
voor en na deze ramp:
eerst horen we dansrijke
melodieën in de
straten, maar daarna
vaagt de aardbeving alles
weg en klinkt er wanhoop
door in de muziek.
Uiteindelijk wordt het
plaatsje herbouwd en dat
is dan weer reden voor
feestelijke klanken!
Filadelfia ist
eine kleine Stadt in der
Provinz Vibo Valentia in
der süditalienischen
Region Kalabrien. 1783
gab es in der Stadt ein
verheerendes Erdbeben.
Das Werk beschreibt die
Ereignisse vor und nach
der Katastrophe. Es
beginnt mit einer
tanzartigen Musik, die in
den Straßen dieses
friedlichen Ortes
erklingen. Das Erdbeben
zerstört alles und
verursacht eine große
Verzweiflung.
Schließlich wird die
Stadt wiederaufgebaut und
feiert ein fröhliches
Fest!
Semele, HWV 58 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Barenreiter
Soloists, Mixed choir, Orchestra SKU: BA.BA04025-01 Composed by George Fr...(+)
Soloists, Mixed choir,
Orchestra
SKU:
BA.BA04025-01
Composed by George
Frideric Handel. Edited
by
Georg-Friedrich-Händel
-Gesellschaft e. V.
Risinger and Mark. This
edition: Complete
edition. Linen. Complete
edition, Score. HWV 58.
Baerenreiter Verlag
#BA04025-01. Published by
Baerenreiter Verlag
(BA.BA04025-01).
ISBN
9790006443222. 33 x 26 cm
inches. Text Language:
English.
Handelâ??
s â??Semeleâ?, which
premiered in February
1744, is based on an
adapted version of
William Congreveâ??s
opera libretto titled
â??The Story of
Semeleâ?, originally
published in 1706.
However, neither Handel
nor his librettist
referred to
â??Semeleâ? as an
opera or an oratorio,
which, according to the
understanding at the
time, would have required
a biblical and/or
Christian subject matter.
Contemporary audiences
also disagreed on the
genre. The problematic
classification as an
oratorio has persisted
into the present day,
likely due to the edition
labeled as such by
Chrysander. The â??Halle
Handel Editionâ? (HHA)
distances itself from
this classification and,
considering the available
sources, refrains from
assigning a genre
label.
Congreve
deviates from the
mythological source
multiple times in order
to create tensions among
the characters. The
desired marriage between
Semele and Athamas, whom
she does not love, is an
addition by Congreve to
provoke the envy of her
sister Ino, who desires
Athamas herself.
Therefore, Ino sees her
own advantage in
Semeleâ??s abduction by
Jupiter. While
Jupiterâ??s wife Juno
decides to destroy Semele
out of jealousy for his
relationship with her,
Jupiter brings Ino to his
palace to console Semele.
The vengeful Juno takes
advantage of Inoâ??s
presence and transforms
into her likeness,
persuading Semele to
carry out a plan that
later proves fatal. In
the end, Ino emerges as
the winner, as she is
able to convince their
father, Cadmus, to marry
her to Athamas. The
appearance of Apollo in
the final scene to
announce that Semeleâ??s
immortal son Bacchus was
saved from her ashes
provides little
consolation. However,
this twist allows the
drama to conclude with
exuberant joy and a
magnificent final chorus
after the tragic scenes
in the third act,
culminating in the death
of the
protagonist.
Hande
lâ??s autograph score
shows significant
deviations from and
numerous revisions of the
original version
premiered. All surviving
early versions, the
musical movements deleted
before the premiere, and
the version of the
December 1744, are given
in the appendix to the
HHA.
Dr. Mayhem! Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
And His No-Good, Nefarious Plot to Destroy L.A.. Composed by J.H. Bell. Youn...(+)
And His No-Good,
Nefarious
Plot to Destroy L.A..
Composed
by J.H. Bell. Young
Concert
Band. Command Series.
Audio
recording available
separately
(item CL.WFR395). Score
and
set of parts. Composed
2018.
Duration 2 minutes, 19
seconds. Published by
C.L.
Barnhouse
For
SATB Choir and String
Quartet Vocal Score.
Composed by Gregory
Spears. Choral Large
Works. Choral, Classical.
Softcover. Schott Music
#ED30292-1. Published by
Schott Music
(HL.49046182).
ISBN
9781540050281. UPC:
888680931278.
8.5x11.0x0.265
inches.
The Tower
and the Garden is a
setting of three poems
for choir and string
quartet. The texts
juxtapose the dangers of
technological hubris (the
tower) and the need for a
place of refuge (the
garden) in a world
threatened by war and
ecological disaster. Each
text suggest ways in
which Catholic thought
and imagery might
challenge the status quo.
The first text, poem 80
from the collection
“Cables to the
Ace,†was written
by Trappist monk and
social activist Thomas
Merton. It is an
eschatological meditation
on the garden of
Gethsemane, where
Christ's disciples slept
on the eve of his
crucifixion. Merton
compares their slumber to
societyÂ’s
indifference to the
destruction of our
natural world by
potentially dangerous new
technologies and war. The
second text was written
by poet and Catholic
activist Denise Levertov.
It is a meditation on the
Tower of Babel and the
tendencyfor technology in
the information and
nuclear age to serve only
its own growth and to
potentially destroy our
lives in the bargain. The
third poem, written by
Keith Garebian, is an
homage to queer filmmaker
Derek Jarman and his
cottage garden at
Dungeness on the English
coast. Situated
precariously between a
towering nuclear power
plant and the sea, the
garden was JarmanÂ’s
austere refuge during the
final months of his
struggle with AIDS. While
an atheist and highly
critical of the church,
Derek Jarman was
intrigued bythe role
religious and
hagiographic narratives
could play in his filmic
indictments of
Thatcher-era Britain.
This is most notable
inhis film The Garden,
which was shot on
location in Dungeness.
Gregory Spears.
By Steven R. Janco. For Voices: SAB, assembly, presider. Instruments: (see 4442-...(+)
By Steven R. Janco. For
Voices: SAB, assembly,
presider. Instruments:
(see 4442-FS etc.)
(instruments optional).
Keyboard accompaniment.
Liturgical Sacred. 14
pages. Published by GIA
Publications. Level:
easy.
Soli ST, SATB Choir/SATB/SATB/SATB, organ SKU: CA.2708349 Composed by Car...(+)
Soli ST, SATB
Choir/SATB/SATB/SATB,
organ
SKU:
CA.2708349
Composed
by Carl Friedrich
Christian Fasch. Edited
by Ryan Kelly. Organ.
Sacred vocal music,
Masses, Latin. Single
Part, Organ. FWV. 20
pages. Duration 23
minutes. Carus Verlag #CV
27.083/49. Published by
Carus Verlag
(CA.2708349).
ISBN
9790007164195. Language:
Latin.
Carl
Friedrich Christian
Fasch's Mass in 16 parts
is remarkable for more
than its unusual scoring.
Inspired by the Italian
church music style of
Orazio Benevoli, it was
composed in 1783 for the
Berliner Sing-Akademie,
and revised by Fasch
several times throughout
his life in order to
adapt the score to the
vocal capabilities of his
ensemble. The composer
destroyed all earlier
compositions, which
probably contributed to
the legendary fame which
this mass has enjoyed
since the 19th century.
The mass was, however,
only published in 1839 -
around four decades after
Fasch's death. The
present edition is based
on the version contained
in the first printed
edition. In addition to
modern music notation,
extensive performance
materials (two choral
scores, separate organ
part) facilitate the
rehearsal of this
challenging work. Score
and part available
separately - see item
CA.2708300.
Violoncelle [Partition + Accès audio] - Intermédiaire Cherry Lane
12 Solo Arrangements with Audio Accompaniment. By Metallica. Instrumental Play-A...(+)
12 Solo Arrangements with
Audio Accompaniment. By
Metallica. Instrumental
Play-Along. Heavy Metal,
Rock. Softcover Audio
Online. 16 pages.
Published by Cherry Lane
Music
Orchestra and Cobla SKU: BO.B.3260 Composed by Josep Ma Ruera. Instrument...(+)
Orchestra and Cobla
SKU: BO.B.3260
Composed by Josep Ma
Ruera. Instrumental Sets.
Duration 40:52. Published
by Editorial de Musica
Boileau (BO.B.3260).
ISBN
9788480207584.
Engl
ish comments:
Empuries is the result of
the interest Ruera showed
throughout his life for
the culture and music of
ancient Greece. As he
himself writes in the
introduction to the
composition: The motives
behind this work were
inspired by contemplating
and analysing the melos
of ancient Greece. The
few melodies that have
been discovered from
those far-off times
inspired the composer of
Empuries to create this
work, conceived with the
Greek modal system in
mind, and adapted to
modern instruments and
tastes. The tetrachord
and pentachords of these
forms are the very bases
of this work. The
descending drift of the
cadence, the harmonic
priority of the upper and
lower notes of the
tetrachords and the
displacement of these
chords to different
acoustic levels, make it
impossible to specify the
classic concept of a set
tonality which, within
the improvised musical
working of the piece,
leads to a naturally
intertonal or atonal
piece of music. Empuries
came to light in 1971,
when it won group A of
the Ciutat de Barcelona
prize. But one must, in
fact, go back to the
1930s to find its true
origins. Ruera made his
first foray into the
theme of ancient Greece
with the sardana,
Empuries, la grega, with
which he won first prize
in the Jocs Florals in
Girona, in 1931. Shortly
afterwards, he wrote a
piece of organ music
entitled Bucolics, in the
Greek modal style, which
was destroyed during the
Spanish civil war. Ruera
continued to work on the
theme and in 1936 he
presented his work Tres
moviments simfonics, for
a big band, inspired by
the ancient Greek modes,
at the XIV International
Festival of the ISCM held
in Barcelona. The work
was chosen to debut in
the festival's opening
concert on 19 April 1936
at Palacio de Bellas
Artes in Barcelona. In
1959, Ruera won the Pau
Casals Prize at the Jocs
Florals de la Llengua
Catalana, held at the
Sorbonne in Paris, for
his work, Empuries: poema
per a cobla i orquestra,
which would later become
the fourth movement of
Empuries. Nine years
later, in 1968, Barcelona
City Orchestra, conducted
by Antoni Ros Marba, gave
the first ever
performance of the
symphonic poem Pastoral,
written to be the first
movement of Empuries, in
Granollers. The final
step was when he finally
completed the work, won
the Ciutat de Barcelona
prize, opened in
Granollers on 2 May 1976
and recorded it for the
Columbia de Barcelona
label in 1977. Anna Maria
Piera
Comentario
s del Espanol: La
obra Empuries es fruto
del interes que el
maestro Ruera demostro a
lo largo de su vida por
la cultura y la musica de
la antigua Grecia. Como
el mismo escribe en la
cabecera de la
composicion: Los motivos
generadores de esta obra
estan inspirados en la
contemplacion y en el
analisis del melos de la
antigua Grecia. Las pocas
melodias que hasta el
momento se han podido
descubrir de aquellos
tiempos remotos sugieren
al autor de Empuries la
realizacion de esta obra,
concebida pensando en el
sistema modal griego,
adaptado a los
instrumentos y gustos
modernos. Los tetracordes
y pentacordes de dichas
modalidades son las
celulas en las que se
basa la obra. El sentido
descendiente de la
cadencia, la prioridad
armonica de la notas
extremas de los
tetracordes y el
desplazamiento de estos
acordes a varias alturas
acusticas, hacen que no
sea posible precisar el
clasico concepto de una
tonalidad determinada y
que lleven, dentro del
funcionamiento
contrapuntistico, a una
musica naturalmente
intertonal o atonal.
Empuries vio la luz en el
ano 1971, ganando el
Premio Ciutat de
Barcelona, grupo A, pero
en realidad tenemos que
retroceder hasta los anos
30 para encontrar sus
verdaderos origenes. La
primera incursion en el
tema de la antigua Gracia
la hizo con la sardana
Empuries, la grega, con
la que gano el primer
premio en los Jocs
Florals de Gerona del ano
1931. Poco despues
escribio una pieza para
organo titulada Bucolics,
en el estilo modal
griego, que fue destruida
durante la Guerra Civil
espanola. Ruera continuo
trabajando en el tema y
en el ano 1936 presento
su obra Tres moviments
simfonics, en version
para gran banda,
inspirada en las antiguas
modalidades griegas, en
el XIV Festival
Internacional de la SIMC
que se celebro en
Barcelona. La obra fue
escogida para ser
estrenada en el concierto
inaugural de dicho
festival, el 19 de abril
de 1936, en el Palacio de
Bellas Artes de
Barcelona. En el 1959,
Ruera gano el Premio Pau
Casals en los Jocs
Florals de la Llengua
Catalana celebrados en la
Sorbona de Paris con la
obra Empuries: poema per
a cobla i orquestra, que
sera con el paso del
tiempo el cuarto
movimiento de Empuries.
Nueve anos mas tarde, en
1968, la Orquestra Ciutat
de Barcelona, bajo la
direccion de Antoni Ros
Marba, interpreto en
Granollers la primera
audicion del poema
sinfonico Pastoral,
pensado como primer
movimiento de Empuries.
El ultimo eslabon fue
terminar definitivamente
la obra, ganar el Premio
Ciutat de Barcelona,
estrenarla en Granollers
el 2 de mayo de 1976 y
grabarla para la casa
discografica Columbia de
Barcelona, en 1977.
Quintet Piano et Orchestre EMB (Editio Musica Budapest)
String Orchestra and Piano SKU: BT.EMBZ6338 Composed by Bela Bartok. Set ...(+)
String Orchestra and
Piano
SKU:
BT.EMBZ6338
Composed
by Bela Bartok. Set
(Score & Parts). Composed
1970. 304 pages. Editio
Musica Budapest
#EMBZ6338. Published by
Editio Musica Budapest
(BT.EMBZ6338).
Odysseia Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1084443-140 Based on Homer...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1084443-140
Based on Homer-s
Odyssey. Composed by
Maxime Aulio. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2008. 52
pages. De Haske
Publications #DHP
1084443-140. Published by
De Haske Publications
(BT.DHP-1084443-140).
9x12 inches.
English-German-French-Dut
ch.
Washed up on
the Phaeacian shore after
a shipwreck, Odysseus is
introduced to King
Alcinous. As he sits in
the palace, he tells the
Phaeacians of his
wanderings since leaving
Troy. Odysseus and his
men fi rst landed on the
island of the Cicones
wherethey sacked the city
of Ismarus. From there,
great storms swept them
to the land of the
hospitable Lotus Eaters.
Then they sailed to the
land of the Cyclopes.
Odysseus and twelve of
his men entered the cave
of Polyphemus. After the
single-eyed giantmade
handfuls of his men into
meals, Odysseus fi nally
defeated him. He got him
drunk and once he had
fallen asleep, he and his
men stabbed a glowing
spike into the
Cyclop’s single
eye, completely blinding
him. They escaped by
clinging to the belliesof
some sheep. Once aboard,
Odysseus taunted the
Cyclop by revealing him
his true identity.
Enraged, Polyphemus
hurled rocks at the ship,
trying to sink it. After
leaving the
Cyclopes’ island,
they arrived at the home
of Aeolus, ruler of the
winds.Aeolus off ered
Odysseus a bag trapping
all the strong winds
within except one - the
one which would take him
straight back to Ithaca.
As the ship came within
sight of Ithaca, the
crewmen, curious about
the bag, decided to open
it. The winds escapedand
stirred up a storm.
Odysseus and his crew
came to the land of the
cannibalistic
Laestrygonians, who sank
all but one of the ships.
The survivors went next
to Aeaea, the island of
the witch-goddess Circe.
Odysseus sent out a
scouting party butCirce
turned them into pigs.
With the help of an
antidote the god Hermes
had given him, Odysseus
managed to overpower the
goddess and forced her to
change his men back to
human form. When it was
time for Odysseus to
leave, Circe told him to
sail tothe realm of the
dead to speak with the
spirit of the seer
Tiresias. One
day’s sailing took
them to the land of the
Cimmerians. There, he
performed sacrifi ces to
attract the souls of the
dead. Tiresias told him
what would happen to him
next. He thengot to talk
with his mother,
Anticleia, and met the
spirits of Agamemnon,
Achilles, Patroclus,
Antilochus, Ajax and
others. He then saw the
souls of the damned
Tityos, Tantalus, and
Sisyphus. Odysseus soon
found himself mobbed by
souls. He
becamefrightened, ran
back to his ship, and
sailed away. While back
at Aeaea, Circe told him
about the dangers he
would have to face on his
way back home. She
advised him to avoid
hearing the song of the
Sirens; but if he really
felt he had to hear,
thenhe should be tied to
the mast of the ship,
which he did. Odysseus
then successfully steered
his crew past Charybdis
(a violent whirlpool) and
Scylla (a multiple-headed
monster), but Scylla
managed to devour six of
his men. Finally,
Odysseus and hissurviving
crew approached the
island where the Sun god
kept sacred cattle.
Odysseus wanted to sail
past, but the crewmen
persuaded him to let them
rest there. Odysseus
passed Circe’s
counsel on to his men.
Once he had fallen
asleep, his men
impiouslykilled and ate
some of the cattle. When
the Sun god found out, he
asked Zeus to punish
them. Shortly after they
set sail from the island,
Zeus destroyed the ship
and all the men died
except for Odysseus.
After ten days, Odysseus
was washed up on
theisland of the nymph
Calypso.
Nachdem
er an die Küste der
Phäaker gespült
wurde, wird Odysseus dem
König Akinoos
vorgestellt. In dessen
Palast erzählt er den
Phäakern von den
Fahrten nach seiner
Abreise aus Troja.
Odysseus und seine
Männer landen
zunächst auf
denKikonen, einer
Inselgruppe, wo sie die
Stadt Ismaros einnehmen.
Von dort aus treiben sie
mächtige Stürme
zum Land der
gastfreundlichen
Lotophagen
(Lotos-Essern). Dann
segeln sie zum Land der
Kyklopen (Zyklopen).
Odysseus und seine
zwölf Mannenbetreten
die Höhle von
Poloyphem, dem Sohn
Poseidons. Nachdem dieser
einige der Männer
verspeist hat,
überwaÃ…Nltigt
ihn Odysseus, indem er
ihn betrunken macht und
dann mit einem
glühenden Spieß
in dessen einziges Auge
sticht und ihn
somitblendet. Odysseus
und die übrigen
Männer fl iehen an den
Bäuchen von Schafen
hängend. Wieder an
Bord, provoziert Odysseus
den Zyklopen, indem er
ihm seine wahre
Identität verrät.
Wütend bewirft
Polyphem das Schiff mit
Steinen undversucht, es
zu versenken. Nachdem sie
die Insel der Kyklopen
verlassen haben, kommen
Odysseus und seine Mannen
ins Reich von Aiolos, dem
Herr der Winde. Aiolos
schenkt ihm einen Beutel,
in dem alle Winde
eingesperrt sind,
außer dem, der ihn
direktzurück nach
Ithaka treiben soll. Als
das Schiff in Sichtweite
von Ithaka ist, öff
nen die neugierigen
Seemänner den
Windsack. Die Winde entfl
iehen und erzeugen einen
Sturm. Odysseus und seine
Mannschaft verschlägt
es ins Land
derkannibalischen
Laistrygonen, die alle
ihre Schiff e, bis auf
eines, versenken. Die
Ãœberlebenden reisen
weiter nach Aiaia, der
Insel der Zauberin Kirke.
Odysseus sendet einen
Spähtrupp aus, der von
Kirke aber in Schweine
verwandelt wird. Mit
Hilfeeines Gegenmittels
vom Götterboten Hermes
kann Odysseus Kirke
überwaÃ…Nltigen
und er zwingt sie, seinen
Gefährten wieder ihre
menschliche Gestalt
zurückzugeben. Als
er wieder aufbrechen
will, rät Kirke ihm,
den Seher Teiresias in
derUnterwelt aufzusuchen
und zu befragen. Eine
Tagesreise führt
sie dann ins Land der
Kimmerer, nahe dem
Eingang des Hades. Dort
bringt Odysseus Opfer, um
die Seelen der Toten
anzurufen. Teireisas sagt
ihm sein Schicksal
voraus. Dann darf
Odysseusmit seiner Mutter
Antikleia und den Seelen
von Agamemnon, Achilles,
Patroklos, Antilochus,
Ajax und anderen Toten
sprechen. Dann sieht er
die Seelen der Verdammten
Tityos, Tantalos und
Sisyphos. Bald wird
Odysseus selbst von den
Seelen gequält,
kehrtvoll Angst zu seinem
Schiff zurück und
segelt davon. In Aiaia
hatte Kirke ihn vor den
drohenden Gefahren der
Heimreise gewarnt. Sie
riet ihm, den Gesang der
Sirenen zu vermeiden,
wenn er aber unbedingt
zuhören müsse,
solle er sich an denMast
seines Schiff es bindet
lassen, was er dann auch
tut. Dann führt
Odysseus seine Mannschaft
erfolgreich durch die
Meerenge zwischen Skylla
und Charybdis, wobei
Skylla jedoch sechs
seiner Männer
verschlingt.
Schließlich erreichen
Odysseusund die
überlebende
Besatzung die Insel, auf
der der Sonnengott Helios
heiliges Vieh hält.
Odysseus will
weitersegeln, aber seine
Mannschaft
überredet ihn zu
einer Rast. Odysseus
erzählt ihnen von
Kirkes Warnung, aber
kaum, dass
ereingeschlafen ist,
töten die Männer in
gotteslästerlicher
Weise einige Rinder und
verspeisen sie. Als
Helios dies entdeckt,
bittet er Zeus, sie zu
bestrafen. Kurz nachdem
sie die Segel für
die Abreise von der Insel
gesetzt haben,
zerstört Zeusdas
Schiff und alle außer
Odysseus sterben. Nach
zehn Tagen wird Odysseus
an den Strand der Insel
der Nymphe Kalypso
angespült.